Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16688
Janine Randerson
Not long after I was absorbed in the latent energies in the Tsunami boulders and Len Lye’s kinetic systems, I returned to more-than-human geologies in my art practice. The catalyst for my recent video work Kāpia: fossils and remedies was a story of kāpia, a relic of an ancient forest commonly called Kauri gum by the settler-colonists, uncovered in a sand dune in the Hokianga harbour in the ‘far north’ of Aotearoa New Zealand. In long-ago climates, the ancestors of Kauri trees, Agathis australis, grew throughout the country and their traces can be found in the leaf fossil records and in amber, their resin, and the solidified pre-fossil resin, kāpia. Today, only a few stands of original Kauri forest remain in Te Tai Tokerau, Northland, and their future survival is uncertain. The gigantism of the Kauri tree evidences their deep prehistory when they dwelled with huge creatures on the continent of Gondwana in proto-Australia, the Pacific islands, India and Antarctica. Kauri are believed, controversially, to have survived the complete submergence of Aotearoa in the Miocene era, but now they must withstand a new pathogen. Phytophthora agathidicida, commonly called Kauri die-back, surfaced in the Anthropocene, just like COVID-19. We humans are asked by many iwi, tribes, to socially distance from these living ancestor-trees for their own survival, under conditions of rahui, or temporary prohibition. How might we protect bodies of trees, people and other more-than-human companions?
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Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16683
Christopher Houghton
In 2010, I was commissioned to create a portrait of Ngarrindjeri artist, Rita Lindsay Jnr for Country Arts SA (South Australia). We met at a healing ceremony at the coastal town of Goolwa in Ngarrindjeri Country. The aim of the ceremony was to attend the trauma caused by the building of the Hindmarsh Island Bridge; an action by developers that instigated South Australia’s most tragic land rights battle. Becoming familiar with the story of Kumarangk and the bridge became a catalyst for a two-year conversation with Rita, her mother and grandmother. What followed was an invitation to use the medium of photography to explore the metaphysical relationship between Country and its human kin. What began as a single exhibition of works in 2013 has now prospectively become a life’s work. To date this has spanned three exhibitions, an Honours project and a PhD, all of which aim to articulate a practice of relational photography over one that objectifies its subjects. Acknowledging the ontological divide between Indigenous and non-Indigenous knowledge production, my aim is to talk about the notion of relational photography through the idea of kin-making across cultural knowledges and thinking. This paper is an introduction to a practice-based research project I have enacted over the last decade that troubles landscape photography and is motivated by the desire to decolonise my own thinking. By decolonisation, I mean the disinvestment in colonial hierarchies, binary thinking and practices of anthropocentrism.
2010年，我受委托为南澳大利亚乡村艺术公司(Country Arts SA)创作一幅Ngarrindjeri艺术家Rita Lindsay jr的肖像。我们在Ngarrindjeri国家的沿海城镇Goolwa的一个治愈仪式上相遇。纪念仪式的目的是纪念因修建欣德马什岛大桥而造成的创伤;开发商的行动引发了南澳大利亚最悲惨的土地权利之争。熟悉Kumarangk和这座桥的故事促使她与母亲和祖母丽塔(Rita)进行了两年的对话。接下来是一个邀请，用摄影的媒介来探索国家和它的人类亲属之间的形而上学关系。2013年开始的一个单独的作品展，现在有望成为一个终身的作品。迄今为止，这已经跨越了三个展览，一个荣誉项目和一个博士学位，所有这些都旨在阐明关系摄影的实践，而不是将其主题物化。承认土著和非土著知识生产之间的本体论分歧，我的目的是通过跨文化知识和思维的亲属关系来谈论关系摄影的概念。这篇论文介绍了我在过去十年中制定的一个基于实践的研究项目，这个项目困扰着风景摄影，并被我自己的思想去殖民化的愿望所激励。所谓去殖民化，我指的是对殖民等级制度、二元思维和人类中心主义实践的撤资。
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Viewing and contemplating archival objects and images provokes me—a female Australian settler artist—to imaginatively engage with and re-present stories of the past; pasts that resonate in the contemporary present. My focus over the last ten years has been to imagine and think within the historical records of the French Enlightenment voyages of the eighteenth and nineteenth centuries as led by the colonial governor, Antoine Bruni d’Entrecasteaux and cartographer and naturalist, Nicolas Baudin. These voyages to Australia and the Pacific are situated within a dismembering discourse of Empire, exploration, ‘discovery’ and exoticism (Chevallier). A major impetus for their undertaking was given by the emerging discipline of the natural sciences, and accompanying shifts in European conceptions of humankind’s relation to the natural world; a prime objective was the gathering/taking/making of knowledge by observation, measurement and material collection. In 2020, following the 2019–20 summer of ferocious bushfires, and during a COVID-19 lockdown in Canberra amidst a global pandemic, my focus in practice turned to the endemic birds around me: local, heard, seen, treasured. What emerged was a renewed close-to-home response to the Baudin collecting raid of ‘exotic’ Australian species.
{"title":"Present Pasts","authors":"Nicola Dickson","doi":"10.5334/pp.1","DOIUrl":"https://doi.org/10.5334/pp.1","url":null,"abstract":"\u0000Viewing and contemplating archival objects and images provokes me—a female Australian settler artist—to imaginatively engage with and re-present stories of the past; pasts that resonate in the contemporary present. My focus over the last ten years has been to imagine and think within the historical records of the French Enlightenment voyages of the eighteenth and nineteenth centuries as led by the colonial governor, Antoine Bruni d’Entrecasteaux and cartographer and naturalist, Nicolas Baudin. These voyages to Australia and the Pacific are situated within a dismembering discourse of Empire, exploration, ‘discovery’ and exoticism (Chevallier). A major impetus for their undertaking was given by the emerging discipline of the natural sciences, and accompanying shifts in European conceptions of humankind’s relation to the natural world; a prime objective was the gathering/taking/making of knowledge by observation, measurement and material collection. In 2020, following the 2019–20 summer of ferocious bushfires, and during a COVID-19 lockdown in Canberra amidst a global pandemic, my focus in practice turned to the endemic birds around me: local, heard, seen, treasured. What emerged was a renewed close-to-home response to the Baudin collecting raid of ‘exotic’ Australian species. \u0000","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114605745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16709
Kelly Lee Hickey
Tender Places is a creative research project engaging the settler body in reflexive dialogue with theory in and through place, to explore moral responsibilities of settler descended peoples in the time of ecological breakdown. The entanglement of severance and extraction with ecological and social violence poses a provocation to settler descended peoples. Working with the Ilparpa Claypans, a site of personal significance on the outskirts of Alice Springs in the Northern Territory, my creative research uses Deborah Bird Rose’s provocation of “Taking Notice,” sensual language and presencing the co-existence of love and violence in order to mobilise the body in the act of physical translation of ideas with/in place through walking, writing and digital photography. The research acknowledges and activates trans-local relationships through the creation and sending of postcards that document, translate and disseminate field notes to and through an international network of artist peers. The postcard is presented as a queering material medium; an appropriated artefact of outsider privilege, a public/ private artwork for an audience of one, and a material item that crosses political and geographical borders to link places and people through space and time. My paper locates this practice of (trans)local place-based inquiry into ecological crisis within broader decolonising, feminist and creative inquiries into the Anthropocene. Postcards and other creative research artefacts will be shared to demonstrate the methodology in action, and I reflect on the decolonising potential of reflexive and embodied engagement with place in relation to settler identity.
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Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16706
Robert D Kettels
I want to begin with an image of the vast ephemeral salt lake called Wilkinkarra/Lake Mackay, sitting in Pintupi Country in the remote Western Desert of Western Australia. This was a key site for my early research into ways to reimagine abiotic perspectives—to work with a ‘geologic’ using creative methods of site responsive artworks. I document these explorations of place as a means to explore my attempts and struggles to unpack complexities in the colonial settler spatiotemporal imaginary of the environment in the Anthropocene. My art practice is informed by the concept of uncritical “White Geology” as identified by the inhuman geographer, Kathryn Yusoff. In particular, the Eurocentric sociohistorical entanglements that help maintain a hierarchical outlook regarding the perception of abiotic matter. In September 2020, following my introduction to this approach at Ngā Tūtaki – Encounter/s, I completed three experimental site responsive artworks on a field trip to the Jack Hills in Wajarri Yamaji Country, in the Murchison district of Western Australia. This creative focus piece discusses secular pilgrimage and presents my durational performance art from that project.
{"title":"Abiotic Perspectives?","authors":"Robert D Kettels","doi":"10.60162/swamphen.8.16706","DOIUrl":"https://doi.org/10.60162/swamphen.8.16706","url":null,"abstract":"I want to begin with an image of the vast ephemeral salt lake called Wilkinkarra/Lake Mackay, sitting in Pintupi Country in the remote Western Desert of Western Australia. This was a key site for my early research into ways to reimagine abiotic perspectives—to work with a ‘geologic’ using creative methods of site responsive artworks. I document these explorations of place as a means to explore my attempts and struggles to unpack complexities in the colonial settler spatiotemporal imaginary of the environment in the Anthropocene. My art practice is informed by the concept of uncritical “White Geology” as identified by the inhuman geographer, Kathryn Yusoff. In particular, the Eurocentric sociohistorical entanglements that help maintain a hierarchical outlook regarding the perception of abiotic matter. In September 2020, following my introduction to this approach at Ngā Tūtaki – Encounter/s, I completed three experimental site responsive artworks on a field trip to the Jack Hills in Wajarri Yamaji Country, in the Murchison district of Western Australia. This creative focus piece discusses secular pilgrimage and presents my durational performance art from that project.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126748497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16704
M. O'Toole
Sound is essential to humpback whales, Megaptera novaeangliae. It is their primary means of communication. Noise—unwanted sound—travels through the sea as pressure, and it travels further in the sea than in air. This practice-led research situates my drawing practice within the context of aesthetic developments arising from responses to environmental pollution that originates in human activity. The methodological investigations underpinning the research speculate on and imagine the humpback whale’s experience of human created sound as it interferes with their oceanic waters. Through the development of an in-depth drawing research process that tunes into bodily, sensory and gestural responses to ocean acoustics, a visual language for the unseen sound forces experienced by whales has evolved. Relational encounters with science and ‘nature’ played a role in the production of this knowledge.
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Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16714
Raewyn Martyn, H. Galbraith
This paper considers how systems of art production are changing in response to climate crisis, and how artists are re-materialising extractive materials like plastic. This discussion centres on the creative practice of Te Whanganui-a-Tara and Ōtautahi based Pākehā artist Raewyn Martyn and thinks through connections with Pākehā, tauiwi and Indigenous practitioners in the context of earlier ecologically engaged practices. Extreme weather is escalating concerns about cycles of industry reliant on carbon emissions and waste production, and within contemporary art industries there is heightened dissatisfaction with dominant models of production, curation, collection and market-led valuation. We discuss parallel changes within systems of production in the plastics industry (with a focus on bioplastics) and within the art world, specifically Martyn’s investigation and creation of biopolymer forms which simultaneously comprise context, ground, and ‘image’ within each site responsive painting. Attention will be focused on the potentials of circular economies and aesthetics, alongside values that complicate an art ecology within the wider transition away from petro-hegemonic culture.
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Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16691
H. Hesterman
The weight of planetary problems is distressing, and the forgetting seems to have multiplied when I wasn’t looking. In late 2020, whilst a global pandemic is also multiplying with disastrous and tragic consequences, I get my mask on. I make sure my shoelaces are tied and tell my children who are studying remotely, or streaming with screens blazing unchecked, that I am disappearing for a walk along the Merri Creek. Walking for one hour and now two for exercise, as mandated by the Victorian State Government, has been an activity that propels people out of their houses. Walking has taken on new significance for Melburnians living in COVID-19 lockdown: exercise is a reason to legally leave your house and you are reminded as you put one foot in front of the other that you can walk five kilometres in any direction. Knowing that is a quiet freedom. We are enmeshed and complicit, in the way we are also entangled, unpredictable, clever, complex, stupid and amazing, just like other organisms. Every action has a consequence, no matter how big or small.
{"title":"Walking in Merri Circles","authors":"H. Hesterman","doi":"10.60162/swamphen.8.16691","DOIUrl":"https://doi.org/10.60162/swamphen.8.16691","url":null,"abstract":"\u0000The weight of planetary problems is distressing, and the forgetting seems to have multiplied when I wasn’t looking. In late 2020, whilst a global pandemic is also multiplying with disastrous and tragic consequences, I get my mask on. I make sure my shoelaces are tied and tell my children who are studying remotely, or streaming with screens blazing unchecked, that I am disappearing for a walk along the Merri Creek. Walking for one hour and now two for exercise, as mandated by the Victorian State Government, has been an activity that propels people out of their houses. Walking has taken on new significance for Melburnians living in COVID-19 lockdown: exercise is a reason to legally leave your house and you are reminded as you put one foot in front of the other that you can walk five kilometres in any direction. Knowing that is a quiet freedom. We are enmeshed and complicit, in the way we are also entangled, unpredictable, clever, complex, stupid and amazing, just like other organisms. Every action has a consequence, no matter how big or small.\u0000","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122920026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16686
Louise Boscacci, Perdita Phillips
Particular Planetary Aesthetics is the title and theme of this Swamphen special issue. It has its origins in Ngā Tūtaki – Encounter/s: Agency, Embodiment, Exchange, Ecologies, the 2019 conference of the Art Association of Australia and New Zealand (AAANZ) held in Tāmaki Makaurau Auckland, Aotearoa. For this special cross-Tasman event, and from opposite coasts of Australia, we convened panels for participants under two invitational titles: “Affective Encounters, Shadow Traces, and Resonant Naturecultures in the Anthropocene: Particular-planetary aesthetics in the feminist ecosocial turn” and “Encounters with and within the Anthropocene: Speculating on Particular-Planetary Aesthetics.” Our project averred that the work of art in the Anthropocene was under interrogation by contemporary artists, writers, theorists and historians. Connected with this shifting ground, we argued that new energies and collaborations were emerging across the postconventional arts and ecological humanities, creating alternative critical frameworks to engage with: that the human is more-than-human and the social is an eco-social domain in a preternatural age of extinction and climate destruction. We set out to feel the pulse of what contemporary artists and researchers from Aotearoa and Australia were doing, making, speculating on, or writing about in the push and pull—the effects, affects and implications—of the Anthropocene-in-the-making. Our project’s defining call was to explore encounters in a new frame of particular planetary aesthetics: moving from the particular, bodily or affective encounter to trace, reveal or refigure planetary connections, relations and concerns. In this guest editorial note, we write in the wake of the ravages of climate crisis fires in Australia, as well as the borderless COVID-19 pandemic. We flesh out the project in its beginnings above, and introduce eleven papers and three visual portfolios of art research in practice that respond to our provocations before and after the Auckland conference. Collectively these scholarly and aesthetic works consider, trace, and respond to affective encounters of the particular and the planetary in the capricious spaces of the Anthropocene-in-the-making.
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Pub Date : 2022-10-02DOI: 10.60162/swamphen.8.16711
Louise Boscacci
Melodious and unmistakable. Brolgas are overhead, crossing country. They bugle on the fly. In a Sydney gallery, Elder, eminent artist and activator Nancy Yukuwal McDinny scans the postcard I hand her. An aerial photograph of a zinc refinery on the east coast of Queensland connected to the catastrophic McArthur River Mine in her Country (Garrwa, Yanyuwa) near Borroloola in the Northern Territory, Australia. She pauses, steadies her hand, looks more closely, then speaks. This paper presents the project “Greetings from Zincland: Unfolding a Shadow Country” associated with Postcards from the Anthropocene: Unsettling the Geopolitics of Representation, an international exhibition and conference held in Edinburgh, Scotland in 2017, and recently published as a book (Cincik and Torres-Campos). Greetings from Zincland, a postcard I sent across the equator as a digital image, a recorded voice reading, and a critical text, is a dispatch from belonged-by country and its shadow places. It recalibrates vintage 1950s’ imagery of local tourist views composed in the North Queensland port city of Townsville—in Gurambilbarra Wulgurukaba and Bindal Countries—with one contemporary sighting of a twenty-first century becoming. Here, I introduce and map a scattered particular-planetary shadow country found in the glare of bleaching tropical light. With this, I unfold a wit(h)nessing story from one shadow place of unexpected connection and confrontation in the antipodean Anthropocene-in-the-making (Yusoff). If a picture postcard is a material form of encounter and exchange, an affect charged one is also an im/material dispatch. And, Auckland, you are one of my shadow places.
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